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Journal articles on the topic 'Humanities and Arts-General'

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Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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1

Joe, Jilliam N., J. Christine Harmes, and Carol L. Barry. "Arts and Humanities General Education Assessment: A Qualitative Approach to Developing Program Objectives." Journal of General Education 57, no. 3 (January 1, 2008): 131–51. http://dx.doi.org/10.2307/27798104.

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Abstract A critical stage of the assessment process is the development of learning objectives. In this study, learning outcomes for general education in the arts and humanities were identified through content analysis with thematic networks. The findings provide additional support for qualitative approaches in developing program-level learning objectives.

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2

Schoonmaker, Cristina Penn. "Arts Education in Thailand: Why it Matters." MANUSYA 17, no. 2 (2014): 1–16. http://dx.doi.org/10.1163/26659077-01702001.

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The humanities, especially the visual arts, are often neglected at Thai universities because they are perceived as rarely yielding tangible results. This paper aims to demonstrate that learning to decode and talk about a painting not only require high level cognitive, visual, and language skills, but also extensive contextual knowledge, which only a background in the humanities can offer. The author analyzes several works of art as well as discusses modern aesthetics to argue that the arts are an integral part of the human experience, and therefore, should be included in general education courses at the tertiary level.

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Joe, Jilliam N., J. Christine Harmes, and Carol L. Barry. "Arts and Humanities General Education Assessment: A Qualitative Approach to Developing Program Objectives." Journal of General Education 57, no. 3 (2008): 131–51. http://dx.doi.org/10.1353/jge.0.0021.

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4

Allen, Derek. "Humanities." University of Toronto Quarterly 56, no. 1 (September 1986): 83–255. http://dx.doi.org/10.3138/utq.56.1.833.

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5

Westerholm, Stephen. "Humanities." University of Toronto Quarterly 57, no. 1 (September 1987): 98–243. http://dx.doi.org/10.3138/utq.57.1.98.

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6

Cook, David. "Humanities." University of Toronto Quarterly 58, no. 1 (September 1988): 99–221. http://dx.doi.org/10.3138/utq.58.1.99.

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7

Wall, Kathleen. "Humanities." University of Toronto Quarterly 59, no. 1 (September 1989): 111–260. http://dx.doi.org/10.3138/utq.59.1.111.

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8

Hayne, Barry. "Humanities." University of Toronto Quarterly 60, no. 1 (September 1990): 101–218. http://dx.doi.org/10.3138/utq.60.1.101.

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9

Denham, Robert, Dennis Duffy, and Kathryn Hume. "Humanities." University of Toronto Quarterly 61, no. 1 (May 1991): 114–87. http://dx.doi.org/10.3138/utq.61.1.114.

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10

Harvey, Elizabeth, John Fekete, and Susan Gingell. "Humanities." University of Toronto Quarterly 63, no. 1 (September 1993): 147–275. http://dx.doi.org/10.3138/utq.63.1.147.

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11

Westphal, Sarah, Mark Fortier, and Brian Patton. "Humanities." University of Toronto Quarterly 64, no. 1 (January 1994): 136–245. http://dx.doi.org/10.3138/utq.64.1.136.

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12

Pecher, Edward, Jay MacPherson, and Elspeth Cameron. "Humanities." University of Toronto Quarterly 65, no. 1 (January 1996): 142–355. http://dx.doi.org/10.3138/utq.65.1.142.

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13

Morgan, Peter, Henry Hubert, and Greig Henderson. "Humanities." University of Toronto Quarterly 66, no. 1 (January 1997): 302–82. http://dx.doi.org/10.3138/utq.66.1.302.

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14

Duffy, Dennis, Rowland Smith, and Raymond Brazeau. "Humanities." University of Toronto Quarterly 67, no. 1 (January 1998): 107–346. http://dx.doi.org/10.3138/utq.67.1.107.

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15

Neuman, Shirley, Vine Deloria Jr., and Lally Grauer. "Humanities." University of Toronto Quarterly 68, no. 1 (January 1999): 344–596. http://dx.doi.org/10.3138/utq.68.1.344.

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16

Findlay, Heather Murray, and Erich Vogt. "Humanities." University of Toronto Quarterly 69, no. 1 (January 2000): 114–358. http://dx.doi.org/10.3138/utq.69.1.114.

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17

Shao, Hui, and Zhixian Yu. "Exploration and Practice of Teaching from the Perspective of New Liberal Arts The Case of the Course “Introduction to Cultural Industry”." Tobacco Regulatory Science 7, no. 5 (September 30, 2021): 3576–85. http://dx.doi.org/10.18001/trs.7.5.1.134.

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The construction of new liberal arts brings new goals and challenges to the cultivation of liberal arts talents, while it provides new opportunities and approaches for the development of Humanities and Social Sciences. As one of the basic courses of Humanities, the course of Introduction to Cultural Industry must adapt to the changes and development of the times and carry out timely teaching reform. Based on the discussion of the connotation of the new liberal arts, taking the specific practice of the course “Introduction to cultural industry” of Ningbo University as an example, this paper addresses the teaching exploration and practice adapting to the new era from the following four aspects: General Education of Humanities and Social Sciences, student centered updating of teaching content, acceptance of online courses to enhance educational technology, and achievement oriented knowledge transformation.

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18

Teo, Thomas. "From Psychological Science to the Psychological Humanities: Building a General Theory of Subjectivity." Review of General Psychology 21, no. 4 (December 2017): 281–91. http://dx.doi.org/10.1037/gpr0000132.

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The development of psychology as a science and the struggle for scientific recognition has disrupted the need to interrogate the discipline and the profession from the perspective of the humanities, the arts, and the concept-driven social sciences. This article suggests that some of the humanities contribute significantly to an understanding of human subjectivity, arguably a core topic within psychology. The article outlines the relevance of the psychological humanities by reclaiming subjectivity as a core topic for general psychology that is grounded in theoretical reconstruction, integration, and advancement. The argument relies on a variety of disciplines to achieve a deeper understanding of subjectivity: Philosophy provides conceptual clarifications and guidelines for integrating research on subjectivity; history reconstructs the movement of subjectivity and its subdivisions; political and social theories debate the process of subjectification; indigenous, cultural, and postcolonial studies show that Western theories of subjectivity cannot be applied habitually to contexts outside of the center; the arts corroborate the idea that subjective imagination is core to the aesthetic project; and science and technology studies point to recent developments in genetic science and information technology, advances that necessitate the consideration of significant changes in subjectivity. The implications of the psychological humanities as an important, justifiable tradition in psychology and for a general theory of subjectivity are discussed.

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19

Vassilieva, Julia, and Ekaterina Zavershneva. "Vygotsky’s “Height Psychology”: Reenvisioning General Psychology in Dialogue With the Humanities and the Arts." Review of General Psychology 24, no. 1 (January 27, 2020): 18–30. http://dx.doi.org/10.1177/1089268020902723.

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The legacy of Russian psychologist Lev Semenovich Vygotsky is most closely associated with the cultural-historical paradigm and, in the West, has found its most extensive application in contemporary developmental and educational psychology. However, Vygotsky’s project was far more ambitious than this perspective implies—in fact, he conceived a new, original program of general psychology that could address human beings in their full measure, foregrounding the human potential for freedom and agency. The distinctive characteristic of Vygotsky’s approach was his profound interdisciplinarity and, specifically, his evolving dialogue with art practices and aesthetics, the scope of which has only become clear with the recent publication of previously unpublished archival material and his writings as an art and literary critic. This article has two aims: to outline a more inclusive and nuanced understanding of Vygotsky’s views on general psychology, on the basis of recent archival discoveries and publications, and attending to these materials closely, to explicate the role that Vygotsky allocated to art in his radical project of creating the “height psychology.”

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20

Kim, Gi-Bong. "Big History－General Education for the Anthropocene." Korean Association of General Education 16, no. 1 (February 28, 2022): 11–22. http://dx.doi.org/10.46392/kjge.2022.16.1.11.

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What is general education? This question usually presumes that general education exists as a substance. Following this presumption, “artes liberalis” and “Bildung” are considered as the archetypes of general education. These two have different meanings, but they both set human beings as the subject and they both teach humanities and living arts. The Anthropocene, which threatens the survival of mankind, let alone the sustainability of human civilization, demands a new concept of general education that breaks away from anthropocentrism. The conventional Humanities-centered general education must break out of the egg of humanism. Big History, which provides scientific knowledge on almost everything from the Big Bang to the Anthropocene, can present a post-human general education concept and a general education model. Therefore, this thesis aims to find a way for a general education Renaissance in the Anthropocene through Big History.

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21

Huss, Ephrat, and Michal Sela-Amit. "Art in Social Work: Do We Really Need It?" Research on Social Work Practice 29, no. 6 (January 4, 2018): 721–26. http://dx.doi.org/10.1177/1049731517745995.

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The arts have been used in social work practice with individuals and communities since the beginning of the profession, and yet an articulation of a rationale for their use is missing. An exploration of how the arts fit within the profession’s mission is also lacking. The lack of a theoretical foundation for the arts in social work has thus resulted in the marginalization of arts practice in the field. This article examines fundamental questions regarding the use of the arts in social work: the relevance of the arts to clients, to social workers, and whether the arts can provide evidence to promote professional work. Addressing these concerns will clarify the relevance of the arts to social work theory and practice and explore their advantages and limitations, thus helping to create more nuanced collaborations between social work and the humanities, arts therapy, and the arts in general.

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22

van Oort, Thunnis, and Julia Noordegraaf. "Structured Data for Performing Arts History: An Introduction to a Special Issue of Data Papers." Research Data Journal for the Humanities and Social Sciences 5, no. 2 (November 4, 2020): 1–12. http://dx.doi.org/10.1163/24523666-bja10008.

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Abstract This introduction to the special issue of performing arts data papers starts off by dwelling on the purpose of the (re-)use of structured data for performing arts history, and on the benefits of publishing data papers about these data sets. The authors present several observations on the general characteristics of data models in this scholarly domain and conclude by discussing each of the contributions to this special issue of the Research Data Journal for the Humanities and Social Sciences.

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23

Kunce, Aleksandra. "Towards the Integral Humanities." International Journal of the Humanities: Annual Review 4, no. 2 (2006): 9–14. http://dx.doi.org/10.18848/1447-9508/cgp/v04i02/41819.

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24

Iannone, A. Pablo. "Globalization and the Humanities." International Journal of the Humanities: Annual Review 5, no. 1 (2007): 169–76. http://dx.doi.org/10.18848/1447-9508/cgp/v05i01/43460.

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25

GIORDANO, SIMONA. "Medical Humanities: An E-Module at the University of Manchester." Cambridge Quarterly of Healthcare Ethics 19, no. 4 (August 18, 2010): 446–57. http://dx.doi.org/10.1017/s0963180110000332.

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The importance of humanities in the medical curriculum is increasingly recognized. For example, in the United Kingdom, The General Medical Council (GMC), which is an independent body established under the Medical Act 1858 and responsible, among other things, for fostering good medical practice and promoting high standards of medical education, in its publication Tomorrow’s Doctors, encouraged inclusion of humanities in the medical curriculum. Literature, arts, poetry, and philosophy are thought to foster the doctors’ ability to “communicate with patients, to penetrate more deeply into the patient’s wider narrative, and to seek more diverse ways of promoting well being and reducing the impact of illness or disability.”

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26

Babich, Irina V. "Bibliography on Culture at the Turn of the Century: Evolution of Its Social Role." Observatory of Culture, no. 6 (December 28, 2014): 118–21. http://dx.doi.org/10.25281/2072-3156-2014-0-6-118-121.

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Addresses the issues of the actual state of bibliographic activities in the field of culture and the arts. The author analyses the ongoing evolution of attitudes and norms concerned with scientific information, research activities in general, and higher education in the humanities. The history of publishing current bibliographies on culture and the arts at the Russian State Library is shortly traced and it is argued that the access to information and knowledge is provided not only by online services and digital technologies in general but also by the systemised representation of information flows and contentrelated search supported by the current bibliography.

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27

Nussbaum, Martha C. "Humanities and Human Development." Journal of Aesthetic Education 36, no. 3 (2002): 39. http://dx.doi.org/10.2307/3333596.

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28

Merolla, Daniela, Michiel Leezenberg, Victoria Sear, and Mark Turin. "Introduction: Colonial Humanities and Criticality." History of Humanities 6, no. 1 (March 1, 2021): 199–208. http://dx.doi.org/10.1086/713263.

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29

Goldman, Marlene, and Paul Higgs. "Ageism: A Health Humanities Approach." University of Toronto Quarterly 90, no. 2 (June 2021): 71–79. http://dx.doi.org/10.3138/utq.90.2.01.

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30

McFarlane, Brandon. "Introduction to the Creative Humanities." University of Toronto Quarterly 91, no. 1 (February 1, 2022): 1–32. http://dx.doi.org/10.3138/utq.91.1.06.

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The creative humanities respond to the creative turn in art, culture, and higher education. In the decades bracketing the millennium, art and culture were instrumentalized to underwrite growth in the creative economy by attracting world-class talent and generating spin-off benefits for hospitality and tourism. Similarly, higher education was retooled to train labour for the creative economy and bring tangible innovations to Canadian communities. These broadscale shifts present pertinent challenges to humanists: we need new theories to critically examine the production, politics, aesthetics, and second-order consequences of culture vis-à-vis the creative economy, and we also need theories and practices that can strategically situate the humanities within neoliberal models for higher education that increasingly prioritize career preparedness, creativity, innovation, and commercialization. Three emergent theories of humanities creativity and innovation – critical creativity, critical making, and meta-creativity – are delineated to showcase how they can be broadly applied to leverage neoliberal discourse to gain access to resources and opportunities while nevertheless championing alternative models grounded in social justice and the social good.

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31

KARA, Umut Yener. "DIGITAL HERITAGE AND POLITICS OF THE PAST." Moment Journal 9, no. 2 (December 31, 2022): 539–42. http://dx.doi.org/10.17572/mj2022.2.539-542.

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Archeologist Chiara Bonacchi’s book, an output of the project titled Ancient Identities in Modern Britain funded by UK Arts and Humanities Research Council, explores ‘politics of the past’ and focuses on how pre-modern history of Europe is leveraged and used on social media by political parties, press, politicians and the general public as part of populist nationalist movements in different countries.

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32

Ahtoneharjo-Growingthunder, Tahnee M. "Closing the Gap: Ethics and the Law in the Exhibition of Contemporary Native Art." American Indian Culture and Research Journal 43, no. 4 (October 1, 2019): 115–22. http://dx.doi.org/10.17953/aicrj.43.4.growingthunder.

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The general lack of funding for arts and humanities has prompted museums to search for additional resources, especially geared to diversity. This financial need has resulted in many cultural institutions directing their efforts to an increased inclusion of American Indian communities and their cultural heritage. These efforts toward inclusion, however, often are often misguided in that the selection of artists, experts and consultants do not accurately reflect the constitution of our communities. In fact, the arts are particularly susceptible to individuals who have falsified their cultural credentials in an effort to be selected for coveted opportunities to perform, exhibit or guide American Indian arts. The incorporation of American Indian art into non-Native institutions, in particular those that do not have experience working with Native communities, must be grounded in ethical practices that are defined by source communities.

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33

D’haen, Theo. "The Humanities under Siege?" Diogenes 58, no. 1-2 (February 2011): 136–46. http://dx.doi.org/10.1177/0392192112441907.

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34

Merolla, Daniela. "Amazigh/Berber Literary and Historical Studies: Approaching Colonial Humanities from the Perspective of Critical Humanities." History of Humanities 6, no. 1 (March 1, 2021): 221–36. http://dx.doi.org/10.1086/713265.

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35

Kursell, Julia, Viktoria Tkaczyk, and Hansjakob Ziemer. "Introduction: Language, Sound, and the Humanities." History of Humanities 6, no. 1 (March 1, 2021): 1–10. http://dx.doi.org/10.1086/713254.

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36

Schüpbach, Johanna, Catrina Langenegger, and Sumanghalyah Suntharam. "Aspekte der Digital Humanities in Bibliotheken." Bibliotheksdienst 56, no. 3-4 (March 1, 2022): 212–26. http://dx.doi.org/10.1515/bd-2022-0034.

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Zusammenfassung Je länger je mehr sind auch aus den Geisteswissenschaften digitale Arbeitsmethoden nicht mehr wegzudenken. Sie eröffnen neue Wege und Untersuchungsweisen in der Arbeit mit (digitalen) Quellen. Wissenschaftliche Bibliotheken sehen sich diesbezüglich mit neuen Herausforderungen und Chancen konfrontiert und in der Position, ihre Angebote für Forschende an der Arbeit in den Digital Humanities anzupassen. Drei Absolventinnen des MAS-Studiengangs in Bibliotheks- und Informationswissenschaft der Universität Zürich stellen je einen von ihnen untersuchter Ansatz, Digital Humanities in der Bibliothek zu verankern vor: ein Memorandum für das Fachreferat zur Sensibilisierung im Umgang mit DH-Projekten, eine Untersuchung von drei Digitalisierungsprojekten im Hinblick auf die Zusammenarbeit zwischen Bibliothek und Forschung, sowie eine Analyse der Chancen und Möglichkeiten von Library Labs als Ordnungsstruktur.

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37

Adamowski. "La Cosa Nostra: Universities and Humanities." University of Toronto Quarterly 66, no. 4 (January 1997): 646–58. http://dx.doi.org/10.3138/utq.66.4.646.

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38

Jacobs, DawnEllen. "Integrating the Humanities: An Institutional Perspective." International Journal of the Humanities: Annual Review 3, no. 6 (2006): 271–76. http://dx.doi.org/10.18848/1447-9508/cgp/v03i06/41720.

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39

Khosravizadeh, Parvaneh, Omid Gohari, Navid Gohari, and Ghazal Ghaziani. "Towards a Holistic View of Humanities." International Journal of the Humanities: Annual Review 9, no. 5 (2012): 247–56. http://dx.doi.org/10.18848/1447-9508/cgp/v09i05/43229.

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40

Moscovici, Claudia. "E.H. Gombrich şi Arthur Danto: Cele mai ȋnalte standarde ȋn istoria artei." Hiperboreea A1, no. 12 (January 1, 2012): 22–25. http://dx.doi.org/10.5325/hiperboreea.1.12.0022.

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Abstract This essay examines the writing of the legendary art historians and aesthetic theorists E. H. Gombrich and Arthur Danto. In my opinion, their books set the highest standards in expository writing in the arts and humanities. Both of them felt equally comfortable writing for a large general audience as for a smaller group of specialists. In fact, they wrote different books for these different audiences. Though highly respected for their scholarship, both Gombrich and Danto are best known for explaining art history and aesthetics to the general public in a simple, clear and engaging manner. They abide by one of the most famous sayings attributed to Albert Einstein — “If you can't explain it simply, you don't understand it well enough” which, I believe, should be a mantra for expository writing in the arts and letters (creative writing being, of course, another matter).

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41

Husarik, Stephen. "The Impact of Digitalization upon the Arts and Humanities." International Journal of the Humanities: Annual Review 5, no. 7 (2007): 119–26. http://dx.doi.org/10.18848/1447-9508/cgp/v05i07/42159.

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42

Edel, Abraham. "More on Knowledge and the Humanities." Journal of Aesthetic Education 21, no. 4 (1987): 95. http://dx.doi.org/10.2307/3332834.

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43

WHATLEY, SARAH. "Archives of the Dance (21): Siobhan Davies Dance Online." Dance Research 26, no. 2 (October 2008): 244–57. http://dx.doi.org/10.3366/e0264287508000212.

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In 2006, an Arts and Humanities Research Council (AHRC) grant was awarded to researchers at Coventry University to create a digital archive of the work of Siobhan Davies Dance. The award is significant in acknowledging the limited resources readily available to dance scholars as well as to dance audiences in general. The archive, Siobhan Davies Dance Online, 1 will be the first digital dance archive in the UK. Mid-way through the project, Sarah Whatley, who is leading the project, reflects on some of the challenges in bringing together the collection, the range of materials that is going to be available within the archive and what benefits the archive should bring to the research community, the company itself and to dance in general.

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44

Adamowski. "Radical Ingratitude: Mass-Man and the Humanities." University of Toronto Quarterly 63, no. 3 (March 1994): 381–407. http://dx.doi.org/10.3138/utq.63.3.381.

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45

Cruickshank, Frances. "Paradise Threatened: Crises in the Humanities Classroom." International Journal of the Humanities: Annual Review 5, no. 8 (2007): 33–38. http://dx.doi.org/10.18848/1447-9508/cgp/v05i08/42187.

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46

Jeffery, Laura, Mariangela Palladino, Rebecca Rotter, and Agnes Woolley. "Creative engagement with migration." Crossings: Journal of Migration & Culture 10, no. 1 (April 1, 2019): 3–17. http://dx.doi.org/10.1386/cjmc.10.1.3_1.

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This article introduces a special issue on arts-based engagement with migration, comprising articles, reflections, poems and images. The introductory article starts by exploring the ethical, political and empirical reasons for the increased use of arts-based methods in humanities and social sciences research in general, and in migration studies in particular. Next, it evaluates participatory methods, co-production and co-authorship as increasingly well-established practices across academia, the arts, activism and community work. It then considers how the outputs of such processes can be deployed to challenge dominant representations of migration and migrants. The authors reflect critically upon arts-based methodological practices and on the (limits to the) transformative potentials of using arts-based methods to engage creatively with migration. Sounding a cautionary note, they concede that even collaborative artistic expressions have limits in overcoming unequal power dynamics, conveying experiences of migration and effecting long-term change in a context in which discourse on migration is dominated by short-term political decision-making, and punitive policies force migrants into precarious forms of existence. While the prospect of influencing the political sphere might seem remote, they advocate for the role and power of the arts in instigating, shaping and leading change by inspiring people’s conscience and civic responsibility.

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47

Liu, Alan. "The Meaning of the Digital Humanities." PMLA/Publications of the Modern Language Association of America 128, no. 2 (March 2013): 409–23. http://dx.doi.org/10.1632/pmla.2013.128.2.409.

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This question of disciplinary meaning—which I ask from the viewpoint of the humanities generally—is larger than the question of disciplinary identity now preoccupying “DH” itself, as insiders call it. Having reached a critical mass of participants, publications, conferences, grant competitions, institutionalization (centers, programs, and advertised jobs), and general visibility, the field is vigorously forming an identity. Recent debates about whether the digital humanities are a “big tent” (Jockers and Worthey), “who's in and who's out?” (Ramsay), whether “you have to know how to code [or be a builder]” (Ramsay, “On Building”), the need for “more hack, less yack” (Cecire, “When Digital Humanities”; Koh), and “who you calling untheoretical?” (Bauer) witness a dialectics of inclusion and exclusion not unlike that of past emergent fields. An ethnographer of the field, indeed, might take a page from Claude Lévi-Strauss and chart the current digital humanities as something like a grid of affiliations and differences between neighboring tribes. Exaggerating the differences somewhat, as when a tribe boasts its uniqueness, we can thus say that the digital humanities—much of which affiliates with older humanities disciplines such as literature, history, classics, and the languages; with the remediation of older media such as books and libraries; and ultimately with the value of the old itself (history, archives, the curatorial mission)—are not the tribe of “new media studies,” under the sway of the design, visual, and media arts; Continental theory; cultural criticism; and the avant-garde new. Similarly, despite significant trends toward networked and multimodal work spanning social, visual, aural, and haptic media, much of the digital humanities focuses on documents and texts in a way that distinguishes the field's work from digital research in media studies, communication studies, information studies, and sociology. And the digital humanities are exploring new repertoires of interpretive or expressive “algorithmic criticism” (the “second wave” of the digital humanities proclaimed in “The Digital Humanities Manifesto 2.0” [3]) in a way that makes the field not even its earlier self, “humanities computing,” alleged to have had narrower technical and service-oriented aims. Recently, the digital humanities' limited engagement with identity and social-justice issues has also been seen to be a differentiating trait—for example, by the vibrant #transformDH collective, which worries that the digital humanities (unlike some areas of new media studies) are dominantly not concerned with race, gender, alternative sexualities, or disability.

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48

Corballis, Michael. "Freeing Up the Mind." Evolutionary Studies in Imaginative Culture 6, no. 1 (April 1, 2022): 79–92. http://dx.doi.org/10.26613/esic.6.1.276.

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Abstract Psychology has generally had a rather stunted view of the mind. In the behaviorist era it essentially denied the existence of mind altogether, and even the cognitive revolution seemed to promote a rigid view of the mind as tied to specific inputs. This began to change when Endel Tulving proposed episodic memory as the conscious replaying of past events-a conception that was later broadened into the more general concept of mental time travel: the ability to travel mentally backward and forward in time, a basic component of imagination. The two books under review, both informed by evolutionary science, illustrate involvement of the humanities in further expanding our understanding of the imagination- the mental capacity that enables us to transcend time and space, voyage into fantasy, and cultivate the creative arts. The historian Felipe Fernández-Armesto goes so far as to suggest that human imagination expanded at the expense of memory, and was even the basis of language. The volume edited by Carroll, Clasen, and Jonsson, all literary scholars, takes us on a wider tour of the fruits of imagination-religion, music, the arts, literature. These books may help place human creativity and imagination in an evolutionary context, and enlarge our understanding of evolution itself. They may also help overcome poststructuralist attitudes that threaten the integrity of the humanities themselves.

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Jeffers, James S. "Envisioning a Christian Liberal Arts Education." Journal of Interdisciplinary Studies 14, no. 1 (2002): 141–64. http://dx.doi.org/10.5840/jis2002141/27.

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Abstract:

Increasing specialization and the fragmentation of knowledge have become the hallmarks of contemporary higher education. The general education or core curriculum at American colleges and universities has gradually also lost its useful original purpose to help each student become an educated person with a clear set of beliefs and values, a citizen capable of leading a moral, compassionate, and committed life. Christian hitter education has followed this general trend, despite the fact that most Christian colleges and universities have a core identity which they want to pass on to their students. The Torrey Honors Institute at Biola University offers a way for Protestant Christian colleges to revitalize their liberal arts education. Its curriculum uses the Great Books of the West to combine the study of theology and the Bible with the study of the humanities and social sciences. Its pedagogy uses elements of active learning as well as mentoring and technical innovations, to enhance the classroom experience.

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Wells, David A. "The Modern Humanities Research Association (MHRA)." Diogenes 50, no. 2 (May 2003): 130–35. http://dx.doi.org/10.1177/039219210305000216.

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