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Ästhetische Erfahrung und Edition
... Im pädagogischen Bereich gibt es Arbeiten, die sich bei der Erforschung ästhetischer Erfahrung auf die Methoden der rekonstruktiven Sozialwissenschaft beziehen (vgl. Mollenhauer, 1996;Engel, 2004Engel, , 2010Mattenklott & Rora, 2004;Peez, 2005;Sabisch, 2007;Bender, 2010). Häufig sind dabei Bezüge auf die dokumentarische Methode (vgl. ...
In der vorliegenden Arbeit mit dem Titel „Ästhetische Erfahrung und Bildung – eine phänomenologische, bildungstheoretische und pädagogische Neubetrachtung“ steht das Phänomen der ästhetischen Erfahrung im Mittelpunkt. Ausgehend von einer phänomenologisch orientierten Beschreibung, Analyse und Interpretation konkreter Erfahrungen (musikalische Hörerfahrung und alimentäre Erfahrung) wird die zentrale These belegt, dass das Ästhetische sich erst in der Erfahrung der Zeit als Verweilen konstituieren kann. Im ästhetischen Verweilen kann sich der Eigensinn ästhetischer Erfahrung eröffnen, indem das Sinnlich-Leibliche zeitweilig und imaginativ überschritten wird. So hebt sich das ästhetische Verweilen aus der Zeit des Alltäglichen heraus und bringt einen gewissen Bruch in das objektive, lineare und messbare Zeitverhältnis ein. Das Ereignis des ästhetischen Verweilens, das passive Momente aufweist, kann eine ästhetische Reflexivität ermöglichen, die das Verhältnis des Menschen zur Zeit und zugleich zu den Objekten und Situationen erfahrbar werden lässt, in denen das Verweilen stattfindet. Das temporale Distanzverhältnis des Menschen zur Zeit kann nicht zuletzt als eine ästhetische Freiheit erfahren werden, d. h. als eine Freiheit in der Zeit und für die Zeit. Die zentrale These der Arbeit wird ferner an einer klassischen Position innerhalb der Tradition der ästhetischen Erziehung und Bildung (Schiller) geprüft und geschärft. Dabei rückt das Verhältnis von ästhetischer Erfahrung, Erziehung und Bildung in den Vordergrund. Darauf bezogen werden ästhetische Erziehung und ästhetische Bildung als zwei unterschiedliche aber zugleich aufeinander bezogene Praxen des Umgangs mit der Zeit bestimmt und in ihrem Wechselspiel pädagogisch fruchtbar gemacht.
... It draws on many intellectual sources, including Charles Taylor, Paul Ricoeur, Martha Nussbaum, and Judith Butler [43,48]. In this paper, I refer to the version of narrative ethics developed by Dietmar Mieth [43,44,48] and influenced by him, Hille Haker [46,47,49], Marcus Düwell [50], Regina Ammicht-Quinn [51,52], and Walter Lesch [53]. ...
This paper explores potential contributions of narrative ethics to the re-theorization of the political in water governance, particularly seeking to rectify concerns regarding when water is excluded from cultural contexts and issues of power and dominance are ignored. Against this background, this paper argues for a re-theorization of the political in water governance, understood as the way in which diverse ideas about possible and desirable human-water relationships and just configurations for their institutionalization are negotiated in society. Theorization is conceived as the concretization of reality rather than its abstraction. Narrative ethics deals with the narrative structure of moral action and the significance of narrations for moral action. It occupies a middle ground and mediates between descriptive ethics that describe moral practices, and prescriptive ethics that substantiate binding norms. A distinguishing feature is its focus on people’s experiences and their praxis. Narrative water ethics is thus able to recognize the multitude of real and possible human-water relationships, to grasp people’s entanglement in their water stories, to examine moral issues in their cultural contexts, and, finally, to develop locally adapted notions of good water governance.
... And that implies that there is an irreducibly reflexive dimension to the aesthetic reflective judgment. 7 Now of course there are different kinds of ways in which we can experience our surroundings in such reflexivity (Seel 1991;Düwell 2000): as beautiful or ugly, 5 One of the reviewers commented that we had not explained why reflexive judgment is dialectical judgment: why reflexive judgment can and should be interpreted as including necessary commitments from the internal viewpoint of the judging subject. To an extent this can be interpreted as a different formulation of this point: how we can understand why a being with the capacity to make reflexive judgments should step into the game of making inferences conditioned by rules such as the principle of non-contradiction at all. ...
Human beings orient themselves in the world via judgments; factual, moral, prudential, aesthetic, and all kinds of mixed judgments. Particularly for normative orientation in complex and contested contexts of action, it can be challenging to form judgments. This paper explores what one can reasonably expect from a theory of the power of judgment from a Kantian approach to ethics. We reconstruct practical (prudential and moral) judgments on basis of the self-reflexive capacities of human beings, and argue that for the subject to see himself as committed to prudential goods it is necessarily implied that he understands himself as committed to moral judgment. However, to understand the normativity of understanding oneself as a being with practical commitments at all, the aesthetic judgment is introduced: the power of judgment in its pure form of selfreflexivity. We claim that aesthetic reflection and judgment is conditional on the possibility for human beings to enter the space of reasons, and therewith for practical self-understanding as such. The paper concludes with a preliminary sketch of different conceptual possibilities in fleshing out the role of the power of judgment in its aesthetic employment in developing mixed judgments.
Warum obligatorischer Musikunterricht? Musikunterricht wird oft als ›nice-to-have‹ betrachtet und im Rahmen knapper Ressourcen in Frage gestellt. Der Begründungsdruck führt dazu, dass der Musik Wirkungen zugesprochen werden, die wissenschaftlich nicht haltbar sind. Ist das Schulfach Musik tatsächlich zu begründen? Wie soll es ausgerichtet sein? Gelingender Unterricht ist nicht nur von Lehrplan und Qualifikation der Lehrpersonen abhängig. Vielmehr spielen Haltungen und Überzeugungen von Lehrenden und Lernenden eine entscheidende Rolle. Markus Cslovjecsek zeigt auf, wo die Beteiligten die Legitimation von Musikunterricht sehen und richtet sich damit an alle, die an schulischem (Musik-)Unterricht und seiner Begründung interessiert sind - ein ›must-have‹ für alle Bildungsverantwortlichen.
School Music for All?
An explorative mixed methods study on beliefs regarding the justification of compulsory classroom music education
Abstract
The publication (doctoral thesis) is structured in an introduction, a theoretical part, an empirical study and first conclusions. After an introduction that discusses the author's own experiences as a research impulse as well as his own position on the research question and in the literature, chapters 2 to 5 focus on theoretical aspects of the legitimation of music as well as the presentation of possible polarities. The large chapter 6 contains an empirical clarification of the polarities by means of two qualitative preliminary studies and the actual quantitative main study. Chapter 7 contextualises the results of the work in the form of a discussion and a classification.
In the introductory chapter 1, the author focuses on his own experiences with the topic in the teaching profession at primary and secondary level, in music studies, in the project "Extended Music Teaching", at university as well as through international exchange, further education cooperation, development projects and publications. Furthermore, the author asks about his personal attitude to the research question, makes it transparent and, above all, searches for answers in the literature on legitimation arguments. Thus, a broad panorama of the current state of research and the debate in the music community (with historical recourse) is spread and different positions (e.g. between purposelessness or end in itself and performance orientation) are presented. Finally, a justification is given for the discussion of the topic.
In chapter 2, the question of theoretical aspects for the justification and legitimisation of music education in schools is raised. Starting with the question of what legitimation is in the first place and how this is reflected in a curriculum as a political framing (historical and current processes as well as the tension between the functions of legitimation and orientation are illuminated), theoretical justifications from the field of music education discourse are unfolded along three selected attempts at systematisation (Ott 1979, Spychiger 1995, Kaiser 2018). A panorama of disillusionment (Ott), a new attempt at an ideal-typical classification (instrumental, aesthetic, pragmatic, broad, semiotic) (Spychiger) and four types of justification (educational/therapeutic paradigm, anthropological, cultural-theoretical, aesthetic paradigm) as well as three legitimising instances (concept of music, learning subject, institution) (Kaiser) is thus spanned.
Metatheoretical considerations, questions and study design are addressed in chapter 3. Based on considerations of how a search for consensus on the justification of compulsory music lessons can take place, the research question is clarified, and the study design is developed from this. It is emphasised that an explorative investigation of the attitudes of important participants in the discourse is intended and that it cannot be about a "final justification".
For this purpose, understandings or basic music pedagogical assumptions, which serve as prerequisites, are clarified in advance in chapter 4 and "presented as axioms, i.e. as non-provable but reasonably clarified assumptions". Convictions on questions of professional (autonomy) as well as artistic integrity and on the definition of school success are developed and recorded as prerequisites for further investigation.
Chapter 5 deals with the theoretical clarification of polarities, primarily on the question of the purpose of school music lessons, which shape the subject didactic discourse. In particular, it will be examined to what extent dichotomies can be confirmed. Since it is recognised that theoretical clarification has only a limited influence on practice, the justification convictions of interested persons with regard to school music lessons will then be examined in an empirical study.
The empirical study is presented in chapter 6. It consists of a critically reflected description of the sample, several preliminary studies and a main study. A first qualitative preliminary study (chapter 6.2) focuses on the beliefs of students at secondary level I and the aggregated subjective theories of students entering the teacher training programme at secondary level I at the University of Teacher Education Northwestern Switzerland (PH FHNW). A guideline informed by the literature study and the results of the preliminary study is developed and presented and then serves as the basis for another preliminary study (chapter 6.3), which was conducted as a qualitative interview study with advanced students of the same degree programme. As a central product of qualitative content analysis, the research question is further specified and a corresponding instrument is prepared, which was then presented to a larger sample for assessment in the main study (chapter 6.4) as part of a comprehensive questionnaire (using SoSci-Survey; survey period 22.11.2019-04.03.2020; n=1437; after adjustment n=918). These data are then analysed descriptively and also factor-analytically after the formation of 12 qualification levels and 9 types in relation to the research questions.
The results are interpreted in chapter 7 as a preliminary insight into the justification beliefs of the sample. The instrument itself, thus tested for the first time, is made available for further development and validation.
Inklusion bzw. inklusionspädagogische Professionalität ist immer durch eine reflexive Haltung geprägt, die im Studium durch die Entwicklung einer forschend-reflexiven Haltung unterstützt werden kann. Dieser Artikel beschreibt vor diesem Hintergrund exemplarisch die Umsetzung von Aspekten des Forschenden Studierens im Einführungsmodul des Studiengangs Inklusive Pädagogik an der Universität Bremen: Mittels einer adaptierten Version des Konzepts der Ästhetischen Forschung gelingt bereits im ersten Semester eine selbstgesteuerte, reflexive und kooperative Auseinandersetzung mit Fragen inklusiver Schule und Gesellschaft. Gleichzeitig erwerben die Studierenden erste Kompetenzen wissenschaftlichen Arbeitens bzw. können erste eigene forschende Schritte gehen. Das Professionalisierungsanliegen dieses Konzepts liegt in der Verbindung Forschenden Studierens mit der Anbahnung einer reflexiven Haltung im Kontext differenzsensibler Lehrer*innenbildung. Mit einem Ausblick auf weitere Elemente Forschenden Studierens im Studiengang Inklusive Pädagogik wird skizziert, wie über den gesamten Studienverlauf hinweg unterschiedliche Aspekte forschend-reflexiver Zugänge pointiert werden.
Sobald wir uns darüber verständigt haben, gelingenden Unterricht und nachhaltige Erziehung als notwendige Voraussetzung von BILDUNG zu akzeptieren, werden wir nicht umhin können, weitere relevante Bedingungsfaktoren für das angestrebte Gelingen auch lehrerseits auszumachen, um den Beitrag und die Bedeutung der involvierten Lehrperson zu verstehen (siehe Begriffstabelle 1).
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