Kinds Of Human Beings Research Articles

Student counseling with nursing students from Universidad del Valle: Search, meeting, permanent challenge

Introduction: The issue of student counseling, as all the issues involved in a comprehensive higher education perspective, includes irresolvable tensions which are always enlightening in discovering the answer to the question: what kind of human beings are formed in the university and what kind of society is going to be built with them? The search for the answer to this question has meaning and matters to all instances and participants in the educational community.Student counseling, comprehensive education, and human care: The practice of Student Counseling includes opportunities for personal and professional growth, along with social projection of students and faculty. For the institution and its academic programs, it constitutes a field for the concrete appplication of the principles and goals of what «ought to be» according to the institutional mission at both levels. In caring for the «other», it is essential to know who that other is. Student Counseling in the School of Nursing at Universidad del Valle has been based on this premise. Its practice has demanded and enhanced knowing the students, their original contexts, expectations, concerns, and difficulties plus their human and professional potentials. The reflections presented here include facts and voices, learnings and processes, limits and scopes of this experience, seeking to recall a memory that demands a place and to contribute to the discussion, fortunately ever-present, about the student as the center and sense of every educational process.

Building arts education policy using the tools of out-of-school time youth arts organizations

With the rise of COVID-19 and growing awareness of racial injustice, the last few years have been exceptionally tumultuous for our systems of education and their stakeholders. But scholars critical of traditional paradigms of schooling and accountability have argued that these crises kindle opportunities for profound change. Gloria Ladson-Billings, who has long argued for an approach to education that embraces cultural and epistemological diversity, has called for a “hard re-set” in education and has urged stakeholders to fundamentally reconsider the kind of human beings we want to nurture. With a reset in mind, we have turned our attention to studying out-of-school-time (OST) arts learning environments. The arts—dance, theater, music, the visual arts, and the digital and design arts—offer us a way to reimagine what good learning and teaching look like and how to design learning environments that work for all young people, and perhaps particularly for our most vulnerable youth. In this article, we draw on findings from our national critical qualitative study of out-of-school time community youth arts organizations. We offer policy recommendations for arts education and school improvement in four major categories: (1) Focus on youth and community assets; (2) Expand beyond a program-centric model of funding and design; (3) Support creative professionals; (4) Rethink the design and implementation of assessment systems. Within each category, we make recommendations specific to the various stakeholders who affect arts education policy—arts education leadership, funders and policy makers, and researchers.

Vairamuthu's Love for the Creatures Shown in the Kallikattu Ithikasam

Love is something that can be in everyone's heart. Even omniscient animals are bound by love. Only love can identify a rational human being. A thing can create and destroy. Love has the power to execute all things. Yes, a word that rules the world Love is exchanged by many different kinds of human beings. Such human beings are nurtured by virtues. The love between human beings starts and rises worldwide. Similarly, human beings love other living beings as well. The purpose of this article is to explore how the status quo of love is shown in the Cactus Epic. Man is a social animal. Sociologists want to show human beings as human beings. This situation does not show human beings as human beings but as animals. The reason for this is the changes that can take place in the context of time and the transition from the human condition to the animal. It is understood that there is no such thing as love. If love is in the state of a man forever he will not become an animal. Love in life is the foundation of life that carries us to the end of our lives with discipline.

쥬디스 버틀러(Judith Butler)의 ‘젠더 수행성’과 ‘취약성’ 그리고 그 신학적 적용

According to modern gender studies, sexuality is something we are born with and gender is educated and socially constructed. For Judith Butler, however, sexuality is not something already completed nor something born with. Judith Butler argues that ‘sexuality’ is also already gender. Sexuality is not naturally we are born with. it is socially constructed. According to Butler, there is no independent and naturally born subjectivity previous to her(his) action and performance. Butler calls this ‘gender performativity.’BR This article will examine Butler’s gender genealogy and it‘s application to ‘gender studies, and psychology of Jacques Lacan. After the argument about Butler’s deconstruction of ‘sexuality and gender’ I will apply them to theological discussions. The theological arguments are composed as three: one is how we understand the image of God not as the subject of Western hetero male but as that of all kinds of human beings. Second aspect is about how church educate women church members as fixed gender roles such as ‘mother’ and sustainer of family. Butler explains that what women are supposed to be and to act is decided by social and legal authority. Likewise, church and theology can be functioning as a legal and lawful authority. Third theological argument is ‘theology of the vulnerability and apophasis.’ According to Butler’s gender performativity, I insist that theological doctrine should not be limited to single human subjectivity such as western male. In here I will argue how much theological definition of human being and women can be widened.

Reviewing and Revising the Institutional Vision of U.S. Higher Education

This article reviews the literature on the institutional vision of higher education in the United States – that is, the philosophical template through which colleges and universities define and communicate the kinds of human beings they are attempting to cultivate. Key linguistic components found to constitute a well conceived, viable, and easily diffused institutional vision are identified and significant issues, controversies and problems associated with these guiding, governing, and self-promotional mission and vision statements are examined. Particular attention is given to those types of schools recognized in the literature as the most maligned in the academic community or misrepresented in the popular press. A comparative analysis revisits the data of a subset of these investigations with the intention of generating greater insight into the institutional vision of higher education and offering a prescription for how these statements can better serve their institutions.

An Interview With Ben Okri

An Interview With Ben Okri Charles Henry Rowell This interview was conducted on March 28, 2005, at the British Arts Council in London, England. Rowell: This morning, as I opened the newspaper The Daily Telegraph in my hotel, I noticed that there was an article on an exhibition of European-American paintings, a small collection from New England. This exhibition is being mounted at the Dulwich Picture Gallery here in London. I love art in various forms. All of us as human beings love it, and some few of us create it. You are an artist, a maker, a creator. Your literary texts are art; your poetry is art; your fiction is art. What is this thing that you make? Will you talk about the fiction you make as art. Art is the essence of the narratives you create; the essence of your narratives is art. Will you talk about what you make as art? What is it, how it moves in the world, how you want it to exist in the world, and how you want us to respond to it or experience it? Okri: It is the most mysterious, and the most future-making, past-transforming, prophetic, death-consciousness-resonating, civilization-shaping, life-molding activity that we do. I see art as a bridge between the secular and spiritual aspects of humanity. In art I’m including everything from song, dance, architecture, painting, music, literature, conversation of a certain kind, even certain silences. Society is held together by laws, but is animated by art. When the art of a people die, not long afterwards, the people die. It’s the art that keeps the brightest and the most important aspects of a people, inwardly, alive. It keeps them alive to conscience, to their failings, to their missed roads, to their wrong turnings, to their great destination which keeps moving forward and taking us with it. Art connects the prophetic; aside from the spiritual, art is the next great realm of humanity. It is practically a continent just off paradise, within the spirit. That’s how important it is. That’s how important I see it. Therefore, it requires from us on the one hand the greatest consciousness in our execution of art, the greatest responsibility, the greatest freedom, the greatest wisdom, the greatest discipline. On the other hand, the greatest, the humblest, capacity of interpretation, because an art that is not originally an interpreter is like a sphinx that doesn’t speak. Right now, we exist in a world where so many things in our art have been speaking to us and telling us all kinds of things we need to know about ourselves, the mistakes we’ve been making, the kind of human beings, the kind of society, the kind of families, the kind of people we can be; all of these works of art are speaking to us, but we’re not hearing them because of poor interpretation. Interpretation is not something that should be left only to the cultural interpreters. It is the responsibility of every human [End Page 214] being. The way we interpret art is a preparation for the way we interpret life, and vice versa. They are in a perpetual dialogue with one another. If you can’t read a book, if you can’t read a poem, you’re not going to be able to read a situation that you find yourself in clearly; it’s the same textual interpretation. We need the same moral intelligence, the same spiritual aliveness, the sense that everything is a text we can learn from. Whether it is literature, painting, music, dance, a building, it is always there speaking to us about our open possibilities. Interpretation should be an important part of the educational curriculum. This whole idea of interpretation has been too culturally isolated. Rap artists constantly are interpreting one another’s performance. Interpretation is one of the most wonderful things we do; it’s just that we separate it from critical interpretation. This broadened sense of art spreads that, and becomes a life thing. Life and art complement one another, perpetually in dialogue, with our consciousness as the mediating place. Rowell: I am...

Consejería estudiantil con estudiantes de enfermería de la Universidad del Valle: búsqueda, encuentro, permanente desafío

SUMMARY Introduction: The issue of student counseling, as all the issues involved in a comprehensive higher education perspective, includes irresolvable tensions which are always enlightening in discovering the answer to the question: what kind of human beings are formed in the university and what kind of society is going to be built with them? The search for the answer to this question has meaning and matters to all instances and participants in the educational community. Student counseling, comprehensive education, and human care: The practice of Student Counseling includes opportunities for personal and professional growth, along with social projection of students and faculty. For the institution and its academic programs, it constitutes a field for the concrete appplication of the principles and goals of what «ought to be» according to the institutional mission at both levels. In caring for the «other», it is essential to know who that other is. Student Counseling in the School of Nursing at Universidad del Valle has been based on this premise. Its practice has demanded and enhanced knowing the students, their original contexts, expectations, concerns, and difficulties plus their

Response to Deborah Bradley, “Oh, That Magic Feeling! Multicultural Human Subjectivity, Community, and Fascism's Footprints”

Response to Deborah Bradley, “Oh that Magic Feeling! Multicultural Human Subjectivity, Community, and Fascism’s Footprints” Marja Heimonen Deborah Bradley has written a most interesting paper that is concerned with anti-racism pedagogy and significant musical moments. Her study has a moral and an ethical dimension; the style of writing is fresh and honest, and she is deeply involved in her important theme. In addition, she is able to explore both sides of the same coin: how music education may support not only anti-racism but also fascism. The approach might be characterized as socially and politically oriented philosophical research. I think that it is most important to shed light on philosophical and theoretical concepts and make them clearer through practical examples, and this is how Bradley explores her research subject. The theories and concepts she uses, such as the concept “multicultural human subjectivity,” are clarified not only by theoretical exploration but also through the personal experiences of human beings particularly interviews of choir members. A more coherent structure, and a focus on a theme, might have helped the writer to go deeper in her research subject, but in that case, the paper would have very probably lost its mission for music educators: the promotion of anti-racism as part of critical pedagogy, not only theoretically but also in practice. Moreover, the structure of the paper and its philosophical argumentation might have been clearer if the writer had focused just on the first theme in her paper: the positive effects of music education, especially a world choir music curriculum, argued to promote both self-understanding (connected with identity) and tolerance between different kinds of human beings. But, the writer also decided to explain [End Page 85] the darker side of the same phenomenon, music and music education used for questionable instrumental purposes and ideologies; for promoting fascism, for instance. I think that this turning point is indeed fascinating and it sheds light on the multiple functions of music education in our societies. Music and education in Nazi Germany is taken as an example, but it is not only the specific historical circumstances, the Third Reich, that demonstrates these problems: “freedom” and “democracy” can be interpreted in various ways, and creating “better people” may refer to different kinds of educational aims also in our multicultural world of today. What should music educators do? Should music education be separated from all kinds of social aspects related to moral and ethical education? Bradley raises questions rather than gives answers, which is as valuable as aiming at finding one right answer (that may not exist). Of course, music’s autonomy could be one basis for music education: the aim of music educators could be to teach children to analyze musical structures and to understand musical works cognitively. A Kantian view of pure art, aesthetic experience, morality and beauty, or excellence as the aim of artistic activity might also be taken as an aim in music education. Following these views, the choir director should rather train the choir members to sing purely in rhythm than to concentrate on authentic emotions, promoting their growing into morally conscious and ethically responsible human beings. Philosophically, the debate between an aesthetic approach and a more pragmatic (praxial) one might be found behind the questions addressed in this paper,1 although Bradley rather refers to the German philosopher Theodor W. Adorno’s ideas on music education. Adorno, who lived in the shadow of Hitler’s Germany and Stalin’s Russia, is a multidimensional sociologist, musician, composer, musicologist, and philosopher, whose works have been interpreted in various ways: actually, he not only defends music’s autonomy, but simultaneously argues that the ideal of music’s self-containment is just an illusory projection (of a bourgeois subject). In other words, his dialectical method aims at keeping opposing views together, and his ideas—rooted in critical social theory—have become a source for new critical musicology.2 Adorno was not a music educator or a pedagogue in instrumental or vocal music, and his view of teaching contemporary music for children could, in my view, be regarded almost as questionable as the German views he criticized as fascist: the aim to educate amateur musicians...

An Assessment of the Institutional Vision of Catholic Colleges and Universities

Institutional vision is a philosophical template”a concept of what, at its best, a college or university is like and the kinds of human beings that institution is attempting to cultivate. A content analysis of the institutional vision of a nation-wide sample of Catholic schools was performed and key linguistic components found to constitute a well conceived, viable, and easily diffused mission and vision were isolated. The prevalence of these components in comparison to other types of religious schools and secular four-year institutions is discussed. Findings suggest that Catholic schools are vision-driven institutions that communicate their priorities and defining characteristics by employing clear, highly optimistic, and inspirational language. They do little to articulate effectively a unification among the community of students, faculty, and staff, or coordinate their vision of the institution with that of the administration. They are less likely than other types of religious and secular schools to address the pragmatic benefits of their education.

Max Weber und Rational Choice by Zenonas Norkus (review)

Book Reviews 155 seem to have read its literature very widely. From an Anglophone perspective, this is very refreshing; so many red herrings and cul-de-sacs simply left unpursued and unexplored. The theme is however the same, whatever the language—selective translations of varying quality in combination with disciplinary developments, together with the efforts of system-builders seeking legitimation, have contrived to hide from us Weber's originality. It is however the variations that make up the tune, in which there is scope for the exploration of ideas and the work of criticism. The caricature of Max Weber that exists in textbook and commentary derives from a compulsion to identify a 'theme' that allows everyone to 'place' Weber, without for the most part ever having to even read him. But if the purpose of our intellectual labour were simply to identify and register 'themes' and then move on to the next 'thinker' we would be like John Osborne's mother, who came to his production of Hamlet and helpfully explained to her friend: 'I've seen it before.. .he dies in the end'.47 Keith Tribe King's School, Worcester Keith Tribe Zenonas Norkus, Max Weber und Rational Choice (Marburg: Metropolis: 2001), pp. 576. ISBN 3-89518-321-0. €59.80 pb. Most of the literature on Weber has been written by historians and by sociologists of humanistic bent. The result is that our understanding of Weber has been somewhat biased in in favour of history and humanistic sociology, while his involvement with marginalist economics has been neglected. It is known, of course, that Weber was influenced by marginalist economics and, especially by the Austrian school of eco nomics—most recently illustrated by Fritz Ringer's Max Weber's Methodology (Cam bridge, MA: Harvard University Press,1997), but the extent to which his interpretive sociology was influenced by this branch of economics has been underestimated. For a similar reason, Weber's role as a precursor of rational choice in social science has also been insufficiently recognized. Norkus' extensive treatment of Weber's role as a pre cursor of rational choice theories fills this lacunae in an excellent way, and is also an important contribution to the development of social scientific theory. Let me say it straight away: this is a great book that contributes significantly to our knowledge both of Max Weber and of rational choice, and, additionally, to a large number of topics that the author touches upon in this comprehensive work of more than 500 pages. Norkus has an impressive grasp of literature in a number of fields and his argumenation is, in general, most convincing. Reading this book takes time, but it is rewarding. Norkus' book is divided into five parts. In the first part, we find a discussion of the relation between Weber's socio-economics and his interpretive (verstehende) sociology. Norkus takes issue with Wilhelm Hennis' interpretation of Weber as belonging firmly to the Historical School in economics and as being a representative of the classical tradition in social philosophy. Norkus agrees that Weber was first of all an economist 47. John Osborne, in his A Better Class of Person 1929-1956, reprinted in his Looking Back: Never Explain, Never Apologise (London: Faber and Faber, 1999), p. 229.© Max Weber Studies 2005. 156 Max Weber Studies and also that he shared some concerns with classical social philosophy, especially the interest in the kind of human beings produced by different societies, but he disagrees with the interpretation of Weber as strongly attached to the Historical School in economics. This interpretation seriously underestimates the extent to which Weber was influenced by marginalist economics, he suggests, and gives a false picture of Weber's work as a whole. I believe that Norkus is entirely correct on this point. In part two, Norkus asks if Weber may be interpreted as a rational choice theorist, avant la lettre. The answer is that Weber was indeed a precursor of contemporary rational choice theories. More precisely, Weber advocated a form of rational choice that insists upon microfoundations, without denying the equal importance of macro foundations. In fact, Weber's own substantive work is mainly at the macrolevel, lacking microfoundations and so...

MOUSETRAP, Meaning and Structure in Hamlet by P. J. Aldus

This volume offers four other short poems by the Countess: “ The Dolefull Lay of Clorinda,” first published as part of Spenser’s Astrophel in Colin Clouts Come Home Again (1595); “A Dialogue betweene two shepheards, .. . in praise of Astrea,” first published in Davison’s Poetical Rhapsody (1602) ; and two poems introductory to the Psalms, one addressed to the Queen and one to the “pure sprite” of her brother. The two latter are found uniquely in the manuscript of the psalms owned by Dr. B. Juel-Jensen, although the last in a somewhat different version and entitled “ to the Angelí Spirit of the most excellent, Sr Phillip Sidney” was printed as Daniel’s in the 1623 edition of his works. Waller’s introduction and commentary are often informative and lively. However, I do not think his texts can be depended upon as the literatim reproduction which he promises in his note on editorial procedure, and the volume as a whole is marred by a depressingly pervasive carelessness in copy­ editing and proofreading. J u d it h m . K e n n e d y / St. Thomas University P. J. Aldus, M O U SETRA P, Meaning and Structure in Hamlet (Toronto: University of Toronto Press, 1977). xiii, 235. $15.00 To discourse of Shakespeare’s meaning demands a bold spirit. While few readers would maintain that the plays depend upon their audience for mean­ ing, the critical task of eliciting what might be called Shakespeare’s meaning has few reliable guides apart from an insistence that the dialogue and action must give the interpretation solid support. Unless whatever thoughts and ideas Shakespeare had in mind during the composition of a play have com­ municated themselves to the text, we cannot justifiably suppose that they have contributed to its meaning. To accept that the play “means” the ideas and associations which rise into the reader’s mind as he studies the text, or watches a performance, is to bypass Shakespeare’s thinking and substitute the mental predisposition of the reader to relate concepts and suggestions as his own mental habits direct. Such a reader may see nothing incongruous in forming a view of Hamlet to which the Phaedrus or the Fisher King con­ tribute, because these interests are too familiar a part of his mental furniture to seem irrelevant to the view of an Elizabethan tragedy which they help him to form. We are all open to the misassumption that the contents of our own minds were equally at home in Shakespeare’s; but we are also all capable of recognizing which ideas the play itself does, and does not, urge upon us, and of resisting the critic’s attempt to force Shakespeare’s work to acquiesce in 249 his invasion of its imaginative integrity. Coleridge may have been mistaken in asserting that a work of art contains within itself the reason why it is thus and not otherwise; but his axiom offers a criterion which in the absence of a more reliable standard we may do better to respect; especially when the work in question happens to be Hamlet. If this play remains an enigma, that is probably because so many attempts to explain it have been obstructed or turned aside by assumptions which the play itself does not invite; in particular, those which although helpful when applied to certain kinds of human beings and situations in real life, are irrele­ vant to the understanding of an acted poem. So long as Hamlet is discussed as a figure who might be explained by the standards of workaday reality, or by analogy with Greek myths or medieval folklore, and not by the terms of his fictional context, he can only remain a mystery. No critical fallacy has more deadly effects than the tacit assumption that Shakespeare’s characters themselves decide how they shall act. They do no such thing, but follow their creator’s will and so illuminate his purposes, not their own. We may some­ times hesitate to say whether or not a character recognizes the ironies of his position, or the delusion which his speech reveals. Does Hamlet understand himself as well as he supposes, and should we respect...

WhatKindof Person WillYourChild Be?

THERE IS A wIDE-SPREAD MYTH ABOUT children-the kind of human beings they are and how they grow-that certainly needs to be investigated. The myth is that adults are very different from children-that in the process of growing up the characteristics of childhood gradually drop off and different characteristics, those of adulthood, are taken on. Most of us parents act as though we believe this myth. We enjoy the funny little things they do and say, we discipline their naughtiness, and we endure many hours of fretting and fussing and no cooperation-all in the faith that these things will be dropped by the wayside as time goes on. We find ourselves saying as we look back on one of those days filled with trying experiences, “Oh well, he’s only a child. We must give him time. He won’t be like this when he grows up.” Unfortunately, that may be only partly true. He probably won’t write on the walls when he grows up, and he probably will come to learn some manners. But his emotional response to the world -how he acts when frustrated, how he gets what he wants, how he responds to strange adults and plays with other children--these things change very little. The spoiled little girl of three is often a spoiled wife at twenty-three and the boy who is the bully on the play-ground is usually the domineering ruler in his family. True, most adults don’t throw tantrums but “sick headaches” are often just as useful. The traits of personality that make each of us an individual, different from every other person in the world, find their beginnings in the experiences of the child long before he goes to kindergarten. His home and his parents, whether they are aware of it or not, start him out on the kind of person he will be. Is your family composed of persons? What else could it be composed of? You are probably thinking of the word persons as meaning people, and it does mean that. But it also has another meaning, something like what we mean when we say “He’s a real person!” That’s the meaning I want to talk with you about. If you know a family that is composed of real persons, you can tell it in a minute. There’s a distinctive flavor about the way they live together. You experience something in their home that makes you glad you know them, and you wish to be like them. These families that are made up of real persons have some very definite qualities. For the most part these qualities are simple and almost obvious and, yet, not many families have them. The reason they don’t is that these qualities are attitudes, and attitudes are not easy